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Classic Me First And The Gimme Gimmes reissued: The Gimmes roll into town for a 12-song shootout with Country & Western. These Blue-State bandits are gonna show Kenny Chesney how it's really done. But now the demanding bunch are back, and this time, it's country that gets a kicking. More C&W-styled numbers are easy targets, be it the ever popular "(Ghost) Riders in the Sky," which here gallops straight into hardcore, "Desperado," which will never escape this incendiary melodic punk rock arrangement, and "On the Road Again," which is delivered up in a similar sizzling style. "Jolene," having already suffered the indignities of a goth make-over, is now manhandled by the Gimmes, who storm Dollyland with utter abandon and a barrage of guitars and battering drums, all the better to keep their man -- hmm, shades of Brokeback Mountain. "Annie's Song" is dragged off of John Denver's country roads, and dumped center stage in the middle of a rock concert, which is just where it belongs. Hank Williams' "I'm So Lonesome I Could Cry" gets even more inspired treatment, including a bagpipe! Even a seemingly straightforward punk do-over like "Goodbye Earl" provides some scintillating moments, from the Rancid meets the Clash styling to the bright harmonies and soaring lead guitar licks. The musicianship really shines through on this set, the guitars blaze, the bass becomes assaultive, and the rolling drums sound like the thunder of mortar in the distance, while the production is equally notable. But hey, the Gimmes can play country, too -- well almost -- the first half of "Much Too Young (To Feel This Damn Old)" boasts some fine fingerpickin' guitar, although the country styling keeps sliding into surf: hey, your roots are showing, guys. Now this is country music everyone can enjoy, gimme more! The 20th anniversary edition comes in a yellowish, more brown Mustard colored vinyl.

*full sounds later

The blissed family band is back! TENGGER have always moved together, through time, space & genre. 'SKY' arrives as a new chapter: a little more still, a little more inward, while keeping all the warmth that's always been at the heart of what they do.

Embodying the band name meaning "endless sky" in Mongolian and "vast sea" in Hungarian, their 8th album 'SKY' centres on the feelings of boundless, infinite expansion. Conceived as one continuous environment rather than a collection of tracks, the album unfolds slowly through luminous synths, patient drones and Itta's breath-like vocals. 

Like a soft big sky you can actually float on: 'SKY' is vast, warm, and wide open.

"Rather than a specific emotion, we hope the record opens a certain awareness — that the sky is not just something to be seen. Through it, we sense a connection to something much larger — a feeling of being linked to the wider universe. This sense of connection runs through the entire record."

A decade after its original release, Be Nothing. still stands as the breakout record that launched Boston Manor from the UK underground onto the global alternative scene. Blending emo vulnerability, pop-punk energy, and sharp post-hardcore intensity, the album became a defining release of the 2010s with fan-favorite tracks like “Lead Feet,” “Burn You Up,” and the massive “Halo.” Now, this 10 Year Anniversary Edition celebrates the legacy of Be Nothing. with newly recorded acoustic versions of the band’s biggest songs, reimagining the album’s most emotional moments with a raw, stripped-back approach. Equal parts nostalgic and refreshed, it’s a tribute to the record that changed everything for Boston Manor while showcasing how timeless these songs have become.

Great Television unfolds as a loose, emotionally driven narrative about navigating love, identity, and self-destruction against a backdrop of memory, movement, and Southern imagery. It begins with “Sunset Promenade,” where a deep, possibly lifelong bond offers comfort amid internal turmoil, establishing a desire for connection strong enough to withstand a restless mind. This sense of identity expands in “Girls of Atomic City,” where independence and womanhood are celebrated, though tinged with performance and uncertainty.

As the story progresses, songs like “Okeechobee Mud” introduce instability and intensity, portraying relationships that are passionate but corrosive, where love becomes inseparable from pain. “Thiokol Tripwire” honors the lives lost in the 1971 Thiokol Chemical Explosion and those affected in the south Georgia community of Woodbine. “Razorwire Wall” reinforces this devotion to chaotic love, suggesting loyalty even in destructive circumstances. A turning point arrives with “The Easy Kind,” where Cook reflects on attempts at self-repair, acknowledging her contradictions and rejecting simplicity in favor of a more fractured self-understanding. This awareness deepens in “Caldonia and The Love Convoy” and “In Your Veins,” where freedom blurs into recklessness and love takes on addictive qualities, revealing her complicity in cycles of harm. “19th Nervous Breakdown” provides crucial context, tracing her instability back to a turbulent upbringing marked by neglect and emotional disorder. “Feverfew,” leaves the narrative unresolved, as she recognizes her repeated attraction to destructive paths yet continues to follow them. In contrast, the closing track “Lightly” offers a rare glimpse of pure, protective sisterly love. Altogether, the album portrays a cyclical journey of longing, damage, and partial self-awareness, where clarity emerges but transformation remains uncertain.

Eero Koivistoinen's debut album reissued in July Eero Koivistoinen is a wide-ranging composer and a talented musician – one of the all-time greats of the Finnish jazz. In 1965 Koivistoinen founded a trio that played avant-garde and fusion jazz together with Pekka Sarmanto and Edward Vesala. In 1967–68 he was a member of Blues Section – a group that is regarded as the first progressive rock band in Finland. Valtakunta (“Kingdom”) was originally released in 1968 and is Eero Koivistoinen’s first jazz LP. The songs of the album are based on the lyrics written by Finnish poets Pentti Saarikoski, Tuomas Anhava, Hannu Mäkelä and Jarkko Laine. The vocalists are Eero Raittinen, Seija Simola, Vesa-Matti Loiri and Koivistoinen himself. He also plays the tenor saxophone, piano and vibraphone, and is joined by a vast selection of legendary Finnish musicians, including Seppo "Baron" Paakkunainen, Pekka Sarmanto, Ronnie Österberg, Hasse Walli, Juhani Aaltonen, Antero Jakoila, Kaj Backlund, Esa Pethman, and Reino Laine among many others. All compositions are by Koivistoinen. The album reflects well the forthcoming compositional repertoire of Koivistoinen with its wide style spectrum. Valtakunta was reissued on vinyl in 2016 via Svart and the pressing quickly found a new home on the turntables of record collectors worldwide. After ten years, it's time to bring back this quintessential piece of Finnish psychedelia, avant-garde, free jazz, and progressive rock on wax and CD again.

Mit dem Album “Giblet Gravy” feierte George Benson 1968 seinen glanzvollen Einstand bei Verve Records.
Der damals 24-jährige Gitarrist war zu dem Label geholt worden, um die Lücke zu füllen, die Wes Montgomery durch seinen Wechsel zu A&M Records hinterlassen hatte. Und Benson bewies gleich, dass er weit
mehr als nur ein “Lückenfüller” sein würde. Mal präsentierte er sich in einem agilen Quintett-Format (mit u.
a. Herbie Hancock, Ron Carter und Billy Cobham), dann mit einer Bigband und Background-Sängerinnen.
Im Mittelpunkt der Musik stehen jedoch stets Bensons flüssige Artikulation, seine bluesgeprägte Phrasierung
und seine rhythmische Gewandtheit. Das Repertoire vereint zeitgenössische Popstücke, Standards sowie
eigene Kompositionen und verdeutlicht die stilistische Bandbreite, die Bensons späteren Crossover-Erfolg
kennzeichnen sollte.

One of the early breed of US death metal acts, Autopsy formed in 1987 in San Francisco. Drummer/vocalist Chris Reifert had gained initial recognition with Floridian genre pioneers Death & his participation on the classic debut, ‘Scream Bloody Gore’ before this new morbid creation was birthed. Autopsy released 4 albums on Peaceville Records in the early part of their career - beginning with the legendary debut, ‘Severed Survival’, in 1989 - before disbanding in 1995, with members going on to become the stalwarts of sickodelia in Abscess.

Autopsy triumphantly & officially returned from the grave after a 15 year hiatus with the 2010 EP, ‘The Tomb Within’. This was followed by the release of the band’s fifth studio album, ‘Macabre Eternal’ in 2011, as the group celebrated a new era of popularity & creativity. This reverence continues to this day as Autopsy itself nears its 40th anniversary, & still features the longstanding core trio of Chris Reifert, Eric Cutler, & Danny Coralles.

‘Mental Funeral’ was Autopsy’s second studio album, originally released back in 1991, & is rightly hailed as one of the greatest death metal albums of all time with its unhinged & uncompromising collection of odes to brutality & depravity, wrapped up in its highly distinctive raw, organic production.

‘Mental Funeral’ was recorded at Different Fur Studios in late 1990, with engineering work conducted by Ron Rigler. The iconic artwork appeared courtesy of Kev Walker, who had already provided the (at the time) controversial cover for Autopsy’s debut, ‘Severed Survival’.

This special 35th anniversary pressing of ‘Mental Funeral’ is presented on a limited red/green ink spot vinyl, featuring newly remastered audio courtesy of current Autopsy bassist Greg Wilkinson at his Earhammer Studios.

Laura Veirs returns with Temple Songs, her first album in four years—and the first she has written, recorded, arranged, produced, and performed entirely on her own. “I didn’t know if I would write songs again,” says Veirs, who spent the intervening years building a backyard studio, getting married, blending a family with four teenagers, deepening her visual art practice (painting), and expanding her music teaching. “Turns out that period was a gathering phase. When I made the commitment to recording the album myself, the muse caught me again and it came together very quickly.”

Congolese music at it's finest! Maestro "Vumbi" Dekula brings back his band to deliver some hypnotic and groovy jams full of soukous, rhumba and dancing vibes. The band (residing in Stockholm, Sweden) have been a favorite live act for many years and this is the follow up to their praised album debut "Opika" and to Vumbi Dekula's solo guitar album "Congo Guitar".

Sometimes an album title arrives like a voice from across time. For Johanna Samuels, Sorry, Kid began as a message to her younger self, part apology and part recognition. Gathering songs written as far back as 2007 alongside newer work, the album bridges nearly two decades of lived experience.

The record holds 70s tones without leaning on them, drawing from a lineage of melody and restraint while staying fully alive in its own time. It feels lived in, steady, and quietly powerful, like something finally understood without needing to be explained. The result is intimate and fully realized, songs that began as questions now settling into something like resolution.

Best known as a member of the electrifying 'Hagstone rock' four-piece The New Eves, Winder- Lind 's solo work channels the same raw intensity and liberatory spirit while revealing a more intimate, deeply personal side to her songwriting. Expanding on the world introduced through her 2023 EP The Spirit Is Carnal and first poetry collection Rod Ska Jag Leva (2025), Wild Love is an ambitious and emotionally expansive body of work from one of the most enthralling new voices in music today. Though connected to the fierce communal energy of The New Eves , Wild Love inhabits its own distinct emotional landscape. Across eleven songs, Winder- Lind brings together the wealth of her experiences and passions and reflects them back outwards, distilled with shimmering intensity. The album spells out a liberatory vision which she refuses to compromise, one rooted in emotional honesty, ecstatic expression and unfettered selfhood.

Originally released in 1989 as an early milestone for the label, this landmark session teams the legendary alto saxophonist - then at the absolute peak of his powers at age 57 - with the incomparable Tommy Flanagan Trio . A titan of the genre for over 60 years, Woods masterfully combined a lush, beautiful tone with a complete command of the bebop vocabulary. Backed by veteran pianist Tommy Flanagan, former Oscar Peterson Trio bassist George Mraz, and a young, up-and-coming Kenny Washington on drums, the quartet delivers a timeless set of acoustic jazz that sounds as vital and vibrant today as it did nearly four decades ago.

Recorded in England and finished off in Lanarkshire with all three Bluebells joining Billy on vocal duties. PostWar sees Billy prove his Stevie Nicks Gypsy status by channelling Mirage era Fleetwood Mac. PostWar is Billy's fourth album with independent label Last Night From Glasgow, following 2024's double release of Steve (a Weekend in Egham, 1996) and When The Lord God Almighty Reads The News. The new album is released on CD and vinyl.

Defined by complex rhythms, low-tuned guitars, and an intense live energy, the band pushes the boundaries of contemporary heavy music. The band features Emilia Moncayo (vocals, synths), Amadeus Galiano (guitar, bass), and Carlos Sanchez (drums), each bringing a distinct musical background that merges extreme metal with progressive and electronic influences. Their combined technical precision and creative approach shape MINIPONY's intricate compositions and evolving sonic identity. MINIPONY has performed across Latin America and Europe, sharing the stage with iconic acts such as Meshuggah and touring alongside Fear Factory. They have also appeared at major international festivals including 70,000 Tons of Metal and Hell and Heaven Fest, Summer Breeze building a strong reputation for their powerful and immersive live performances.

Defined by complex rhythms, low-tuned guitars, and an intense live energy, the band pushes the boundaries of contemporary heavy music. The band features Emilia Moncayo (vocals, synths), Amadeus Galiano (guitar, bass), and Carlos Sanchez (drums), each bringing a distinct musical background that merges extreme metal with progressive and electronic influences. Their combined technical precision and creative approach shape MINIPONY's intricate compositions and evolving sonic identity. MINIPONY has performed across Latin America and Europe, sharing the stage with iconic acts such as Meshuggah and touring alongside Fear Factory. They have also appeared at major international festivals including 70,000 Tons of Metal and Hell and Heaven Fest, Summer Breeze building a strong reputation for their powerful and immersive live performances.

In the years after independence, Tunisia made an unlikely bet: tourism. Beach resorts rose along the coast, each one trying to outshine the next, and each one needing a band to entertain their guests. A whole generation of musicians grew up on those hotel stages - sharing bills with James Brown, Claude François and the Mingus Dynasty - and what came out of it was a small revolution. Funk played on Tunisian instruments. Disco with an oud in it. Reggae carried back from the island of Kerkennah. A "Third Language" the press didn't quite know what to do with.

Tunis Hotel Stereo gathers nine of those records. Most of them were pressed in tiny quantities, sold to tourists as souvenirs, censored before reaching the radio, or quietly slipped onto a 45 between two hotel sets. Some of these artists filled the Carthage amphitheatre. Some topped the Maghreb hit-parades. Most have been waiting, for forty years, for someone to play their music again.

This compilation is the result of years of work - collating memories, hunting down records, sitting with the artists who made them, and with the people who once danced to them. It is the third release on Shakshouka Records, and the first compilation of Tunisian music ever curated by Tunisians, in Tunisia.

SIDE A

The mysterious Les 4 Dés, who turned the national anthem into psychedelic pop on Ya Tounes - and then nearly vanished. Peace Band, hard rockers turned hotel professionals, recording as Omnya at Hammamet's legendary Topkapi club. Ridha Zalila, the eternal shape-shifter, in a rare instrumental of Tiou Tiou Tiou. And Sadok Gharbi's Noujoum - pulled from his sabotaged, near-lost masterpiece Souar.

SIDE B

Carthago, the impossible big band that married the elite of Tunisian jazz-rock with the stars of tourist entertainment, with the original Dhikrayet. Khaled Mellef, one of the great UFOs of his generation, with Wait Till the Morning Dew, recorded in the Netherlands. Marhaba Band's Baba Bahri, originally pressed only for hotel guests and now a cult artefact. Corniche Band's Dance, cut in Milan during a technical stop on a cruise ship. And Jomaa Bouzrara, the "Bob Marley of the Maghreb," with Now That, drawn from his landmark 1983 debut Sunset.

These weren't rebels without a cause. They were musicians who understood that modernity and heritage are not opposites - that a Tunisian could play funk and still be deeply, irreducibly Tunisian. They drew from every direction at once, and built something that belonged to none of those worlds entirely, and to all of them at the same time.

This compilation is one small act of remembering. The music does the rest.

There are two version of the LP - limited to 100 numbered copies with transparent wax and classic black wax edition. Both 180g with special OBI strip.

Maciej Envee Goliński is an artist who probably needs no introduction. He has been working with U Know Me practically since the label's inception. His last album ("Time & Light") made a huge impact worldwide, but we had to wait eight years for the next vinyl release. In the meantime, Maciej has certainly been busy – he has released numerous club singles under several aliases, and has helped record and mix numerous albums from the world of jazz, soul, and electronica. "Wyszymory" is a carefully crafted concept album, inspired by our roots. "Wyszymory" is an album on which every open-minded listener will find something that has been playing in their soul for a long time...


"Of all things visible and invisible, my life is most filled with music and a fascination with sound. It matters not whether they are natural or artificial, isolated or resonating through space. Sounds that evoke
memories, as well as those entirely new. Some of them have resonated unchanged for thousands of years. Certain resonances and rhythms have remained unaltered for generations so distant that they have left no other trace in human civilization.

This bond with our ancestors truly fascinates me. Ever since I realized it, I have become more attuned to inspiration. Listening to traditional and classical music, I kept finding new anchor points. I was constantly surprised by new invitations to ponder what connects – or divides – the pulse of our region’s traditional music with the rhythms of Africa, the tribes of the vast East, or the frozen North. My great authority, Tomasz Stańko, in interviews conducted by Tomek Michałowski, used beautiful parables of love and creativity to bring me closer to the ­Cro-Magnon cave artists. The Icelandic literary magician Andri Snær ­Magnason, in his book On Time and Water, captivated me with the fascinating observation that through emotional contact, words, ideas, or memory, we reach back and forward two or even three generations – spanning a period of about 270 years. Then there is Sam Kowalski, who with his wonderful obereks played on the gitalele, took me on a hypnotic journey, from which one returns with a deep admiration for the art of musical storytelling, passed down from generation to generation. Finally, my own children surprise me with talents, behaviors, and increasingly distinct features of those generations that now dwell only in my hazy memory and on old photographs.

I wanted the protagonists of this album to be the very phenomena that modern humans share with their ancestors, ­regardless of the level of civilization. Most vital among them is the relationship between humans, nature, and their own emotions. Wyszymory has nothing to do with an academic study, though I did delve into Slavic mythology, archaeology, and history in search of inspiration. Nor is it an album of traditional music, even if such music is present thanks to wonderful instrumentalists. I managed to invite artists who cross boundaries daily, working not only with Polish music but also with Hindu and African traditions, and even jazz, with its long history of blending influences. Naturally, the album became a kind of sonic comic book, where individual scenes and stories – the sounds, pulsations, and ideas on how to use them – came to me over time, often under unique circumstances and in inspiring contexts."
Envee

10 years in the game is a landmark moment worth celebrating and one that Good Vibrations Music is proud to be hitting in 2026.

Loved & highly respected globally, Sean McCabe’s trend setting label has been constantly delivering its high standards of music for a decade and felt it rather fitting to turn a spotlight across its catalogue with a nod towards some of the biggest & best releases across the label to date.

Refusing to be pigeon-holed but sitting comfortable across all things soulful & deep, this lovingly curated look-back by Sean himself is sure to introduce tracks from the archives to newcomers as well as reinforce much loved classics to existing fans alike.

Featuring a collection of talent that includes Sean McCabe, Frankie Feliciano, Lem Springsteen, Mr. V & Kaidi Tatham, Decade One is a prestigious moment for the label..

Es sind fünf hektische, chaotische, zermürbende, völlig durcheinander gewirbelte Jahre. Es sind all die mühsamen Missverständnisse einer fünfjährigen Beziehung, verzerrt und zu einer absurden schwarzen Comedy-Miniserie auf Vinyl gedehnt. Es ist der Klang all unserer Streitgespräche, die gleichzeitig erklingen. Es sind mehrere aufeinanderfolgende Sprachnachrichten, die nicht angehört, sondern stattdessen als Transkript gelesen wurden. Es sind fünfzehn Songs des ikonoklastischen Rappers Mike Eagle und des innovativen Produzenten Kenny Segal. Es ist das weltweit erste halb skurrile Trennungsalbum. Es ist "DOOMED!", es ist auch LA. Vielleicht nicht in erster Linie, aber Los Angeles ist tief in der Gegenwart und der Geschichte dieses Albums verwurzelt. Die Geschichte jeder Großstadt ist auch eine Geschichte von Zugezogenen. DJ Premier in New York, Tupac in Kalifornien. Wenn man es aufbaut, werden sie kommen. Mike und Kenny kamen beide als junge, aufstrebende Künstler nach LA, angezogen von der Szene rund um die bahnbrechende Rap-Crew Project Blowed. Sie sind seit fast zwanzig Jahren befreundet - und arbeiten gelegentlich zusammen. Trotzdem ist "DOOMED!" das erste Mal, dass die beiden ein komplettes Werk gemeinsam geschaffen haben. Aber alles geschieht zu seiner Zeit, und das Schicksal hat sie genau in dem Moment zusammengeführt, der es dem Duo ermöglichte, etwas Außergewöhnliches zu schaffen. Mike, der gerade eine Reihe von Alben mit mehreren Produzenten hinter sich hatte und das Ende einer turbulenten Beziehung verarbeitete, brauchte eine kreative Katharsis. Kenny hingegen hatte sich nach einer Reihe von hochgelobten Kollaborationen - nicht nur mit Rappern wie billy woods und K-the-I??? - sondern auch mit dem Jazz-Trio Human Error Club und dem bluesigen Indie-Rocker Benjamin Booker - auf seine nächste Herausforderung festgelegt. "In den letzten Jahren machte Kenny sehr deutlich, dass er nicht einfach weiterhin ein oder zwei Beats für meine Projekte beisteuern wollte; er wollte etwas aufbauen", erklärt Open Mike Eagle. "Ich konnte ihn davon überzeugen, mir ein paar Beats für Neighborhood Gods Unlimited zu überlassen, mit der Maßgabe, dass wir uns als Nächstes auf unser gemeinsames Projekt konzentrieren würden. Dann zerbrach meine Beziehung, gerade als wir mit der Arbeit begannen, und ich dachte mir: Perfekt, dazu habe ich eine Menge zu sagen."

Following the acclaimed release of the Digitec LP, this companion EP digs even deeper into the archives of one of UK tech house’s most influential figures.

As a pivotal force in shaping the late '90s and early 2000s underground, the longtime Fabric resident and close friend of Sushitech finally opened his vaults to reveal a treasure trove of rare classics, forgotten sessions and unreleased material.

This follow-up offers collectors a further glimpse into that archive, featuring meticulously remastered editions of the elusive Funky Future and Bonjour Charles two stripped-back, dubwise London tech house cuts that became permanent fixtures of Terry’s legendary Fabric sets! Timeless, understated and unmistakably Terry Francis.

'Devotional music and its devotees all do a bit of "buying in"; that while one's on the ground reality may appear anything but celestial, through this music, one can reach ecstatic space, ecstatic peace. However, devotional music is not solely concerned with a skyward glance - what does it look like to raise up the rust, look upon fractured branches, gaze at the density of a low fog across a field? Instead of us looking up at the land, what if the land was looking back at us? Old Saw brings together a brigade of New England silt sifters to raise up the land not as excavators, but as preparators. Tending and caring for the simple mess that our world discards. Throughout Country Tropics four pieces, the crew stretches and bends chords to their resting place before setting forth towards a new one. Fiddle drone, wistful tape loops of pedal steel, pipe organ hums, and clattering bells call us to scenes of observation, a water tower, a mechanical bull rental agency, a back porch, a taxidermy shop, a local church choir, a garden with singing vines, voltage hum of the electric fence on Pulp mill bridge road.
'The funny thing about devotion is the absence of sight, of source. We place trust in the guide or guides to bring us to a place of seeing, feeling, and hearing. The music on Country Tropics calls out to those in search of such places, but also doesn't demand we conjure some fantastical, celestial vision of understanding. Rather, Old Saw points our gaze downward towards the terrafirma unconsidered, and guides our hands into the dirt.'

Drone returns for his fourth release on his Evil Sky imprint with Normal Ways, a 4-track EP that further pushes the boundaries of bass-heavy music. The EP blends 2-step, breaks, and dubstep, showcasing Drone’s ever-evolving sound while staying true to his distinctive style.

Opening with Ralph’s Theme, a euphoric breaks-driven track, Drone explores a more melodic and emotional side of his production with soaring synths and vocal chops.

Blurred Vision follows, a bass-heavy 2-step anthem with powerful low-end and driving drums that capture Drone’s signature intensity.

Atom Bomb is a dubstep weapon, a club-focused track loaded with hard-hitting bass and all the weight you expect from Drone’s productions.

Closing out the EP is the title track, Normal Ways — a stripped-back, weighty cut with a deep sub, vocal chops, and grooving percussion, marking a return to a more minimalistic yet dynamic sound. Normal Ways sees Drone push forward into new sonic territories while maintaining his signature style, making this EP another standout release on Evil Sky.

OK EG, AKA Lauren Squire and Matthew Wilson, take intrepid recce’s on a Kalahari debut of fathoms-deep techno minimalism and opiated braindance styles.

With release titles like ‘Intertidal zone', 'Anther' and 'Prismatic Spring’, their ambition to evoke natural worlds is evident. But these tracks aren’t of this planet. Navigating truly alien terrain, ‘Rivulets’ finds the duo imagining uncharted environments into existence through the medium of analogue hardware.

This is very much an album of two halves; the first on heads-down tip aimed straight at the dancefloor, with a second plate that veers further into abstraction. That said, they’re all the kind of far-reaching explorations where close listening yields great rewards.

Between ‘Oxygen Channel’’s cavernous throb and the dub techno-leaning ‘Circular Arc’, the Antipodean duo set their stall out with a widescreen sense of space. Then, ’Rivulets’ comes in strong with the spiralling, trance-inducing gear. Stripped-back, no fuss; proper live improv techno for the most inquisitive souls.

Sending signals into the endless expanse, the second half is a demonstration of OK EG’s versatility. Where ‘Surface System’ and ‘Matched Grip’ further indulge dubby tendencies, ‘Flow Regime’ and closing gambit ‘Endless River’ traverse dreamlike dimensions through breaks and flow state IDM.

Collaborations have always been an aspect of music I enjoy a lot, it can bring out the best in both artists when done well. It's a privilege to return the favour for one of the most exciting producers around in my opinion and to put out some of our music on my label after I released 'Reflections' on his excellent Temple of Sound back in 2019.

Tom and I came up through similar circles of music, inevitably connecting. We started to chat online and send ideas back and forth, immediately finding a shared enthusiasm for production and music in general. With a similar ethos of DIY and letting the music speak for itself, this EP was formed from the track 20-25 aptly named due to the stems being bounced back in 2020 but it eventually came together in 2025. We exchanged a few ideas and quickly realized we had a pretty strong EP in the works combining the best of both our sounds.

The EP consists of 4 hypnotic & rolling bass music tracks around 130 BPM merging influences from broken & deep Techno styles, Breakbeat & House. Perfect for deep listening or wiggling air in the club.

20-25 is a crunchy broken beat roller with lush pad work, stabs and slinky grooves before dubbed out bongos crank the energy up a notch and solidify the groove. 5 years in the making, but definitely worth the wait!

Strings on the A2 leans heavier into repetition and hypnotic grooves with slinky synthetic percussion and cavernous atmospherics. The track gradually evolves with elements filtering in and out whilst the groove anchors the track before the breakbeat science and pitchy bass comes into play. It's low and slow, building the tension before weaving in the full power of the track with haunting dissonance and dark melodics.

The title track takes the EP in another direction with it's delicate melodies and vocal, ushering in thunderous kicks. Around 2 mins in, the full weight of the track is noticeable with the low sub bass and modulating percussion. The track slowly morphs into an insatiable groove with peaks and troughs before a full send on the 2nd drop with additional percussion, intensifying the energy and taking the track into more dancefloor territory.

Finally we have Depth Charge on the B2, eyes down, dubby with a wonkified groove. This one is a slow burner, coming in at over 8 mins long. The rhythmic prowess is on full display with counter balanced rhythms, an interesting bassline and dubby pads and stabs. The track has a noticeable energy shift around 3.30 with a key change, and the slow meshing of subtle elements culminate in an easeless hypnotism where 8 mins feels like a lot less, a perfect closer.

We hope you enjoy, keep it deep!

12" single w/ full picture sleeve. A-side is extended mix, B-side w/ version.

A best of both worlds reissue of the two most sought after tracks on Keith Cole's Lovebird imprint. Keith cut some sides for producers in Jamaica in the early '70s before coming to New York and starting his own Lovebird label, mostly self producing thru the first half of the '80s. The A-side here "Honey Bee Fantasy" is a killer slow burner of mid '80s boogie/funk, featuring a couple of well known American jazz/funk session players on the rhythm track. The picture sleeve is a near replica of the one that came with the original press. For the B-side we have Keith's production of Canadian singer Ann Marie, who also does backing vocals on "Honey Bee Fantasy." On "Together Again" she's singing on a well known and loved moody early '80s rhythm, laid by the first incarnation of the Roots Radics which featured Blacka & Bingy Bunny of the Morwells.

BBE Music’s celebrated J Jazz compilation series reaches its fifth and final volume in early 2026, culminating in a track list that maintains the exceptionally high standard first set with volume one back in 2018. This final volume features a selection of tracks that is as diverse as it is deep, reflecting the rich and varied Japanese jazz scene that spanned from the late 1960s to the late 1980s, a golden era of innovation and creativity. J Jazz volume 5 sees compilers Tony Higgins and Mike Peden dig ever deeper into their respective record collections to reveal tracks that encompass myriad styles including white hot jazz funk fusion from Toshiyuki Honda (Eastern Legacy) and Mikio Masuda (Sonic Barrier), super rare ethnic jazz crossover by Christal Zone - their one-off 45 promo release from 1971, Rai Rai, a deconstructed and abstract jazz classic by Yasuhiro Kohno with his solo piano rendition of My Favourite Things, and Mile and Half’s skin-tearing, shredding freak-out from their mega rare private press album.

A track that is so relentless, it leaves the listener in need of oxygen and a Valium. These hand-picked selections sit alongside other specially chosen numbers that embrace hard-driving samba (Seiichi Nakumura’s Judy’s Samba), epic head-nodding soul jazz (Masaru Imada’s World Line), psychedelic private press fusion (Aoyama Gakuin 101’s Fervor), angular post-bop tear-ups (Akira Miyazawa’s Nijimasu), intense and insistent fusion (Motohiko Hino’s Olive Step), serene cinematic pianism (Hideo Ichikawa’s On the Trade Wind) and tripped-out hallucinogenic tribal funky jazz (Masahiko Sato’s Garandoh’s Africa to Africa). Most of the tracks on this collection are being reissued for the first time, many of them only available previously on extremely limited and mega-rare private press or independent releases. J Jazz volume 5 is a fitting end to a compilation series that helped create a new audience and appreciation of Japanese jazz Some of the albums the tracks are drawn from are featured in the large format book J Jazz: Modern and Free Jazz from Japan 1954-1988, by Tony Higgins and Mike Peden, published by BBE Music in 2024. With almost 7000 words of extensive sleeve notes, J Jazz volume 5 comes in a triple 180g vinyl set inside a deluxe gatefold sleeve with obi strip, and comes with a 4-page insert, with photographs from the renowned Tokyo Jazz Joints project. It is also available as a double CD and digital download. Mastered at the Grammy-nominated Carvery Studio by Frank Merritt, this latest collection is a worthy successor to the preceding four volumes that set the bar so high. The J Jazz series is curated for BBE Music by Tony Higgins and Mike Peden.

In 1993 the French funk rock collective FFF (short for Fédération Française de Fonck) followed up their debut album with Free For Fever. The band went to the UK to record the album. This time there was significantly more rock and metal influenced compared to its predecessor, but the funk (or rather, the Fonck) is still ever present.

For production they got help from Mark Wallis who worked with Talking Heads, R.E.M. and The Smiths. Especially in France the album was a great success.

After being out of print for over a decade, Free For Fever is finally back on vinyl, as a limited edition of 1000 copies on white vinyl, Included in the package is a 4-page booklet.

Originally released on the Escape From South Warren LP via Motech Records in 2015, “We Get Down” was born from a hypnotic Turkish loop sample twisted into a raw modern dance weapon — driven by Gary Martin’s preacher-style spoken vocals and underground Detroit energy.

The story behind the youANDme remix runs even deeper. He first delivered a version back in 2015, but it never made it to the two 12” releases. The track refused to die. He later released it as “Swell,” and stripping away the original GM elements and releasing it with a massive remix from Kenny Larkin that went on to make serious waves. This latest version includes originals samples.

After asking Franki to release it on Teknotika, he came back wanting to make a much better version than 10 years ago. And he definitely delivered! This version includes much more elements of the original version with the fire fire of his sound.

Now “We Get Down” returns with the strongest remixes the track has ever seen — alongside the original cut that started it all. Detroit pressure, rebuilt for a new era.

Frenchman Franck Roger is as consistent as any of the deep house greats we have all loved and appreciated for many years. He returns to Seasons Limited with another EP of perfectly timeless sounds to back that up. Opening up this latest gem is 'Don't Make Me Wait', which is shimmering and candlelit, with wispy pads and aching vocal cries occasionally bursting out of the mix. 'The Number Track' has a more pronounced groove with lumpy kicks and this time neon chords bubble through nicely for zoned-out late-night hypnosis. 'Fast Lane' closes with a more insular and dark feel that takes you back to the early days of Chicago house with a devastating synth conveying great loneliness

2026 Repress

Although he's released on numerous labels since debuting almost a decade ago, Eduardo Barbi aka Gledd returns to his own reliable imprint Saint Wax. On his fourth vinyl missive for the imprint, My Church Is On Fire, the Italian producer delivers a quartet of cuts that happily boast samples from vintage gospel cuts. It's a simple idea, brilliantly executed, as proved by the righteous, spiritual, organ-rich stomp of opener 'Let It Shine', featuring guest lead vocals from Steve Salmaso. Elsewhere, 'Mama Don't Preach' is a whirlwind of sampled gospel soul vocals, expansive piano solos and chunky deep house beats, 'Be Real' is a heavily electronic slab of gospel-house deepness, and 'Back on My Stay' is a locked-in, late-night delight with an effortlessly soulful finish.

Kylie’s first album with Parlophone shot Kylie back into pop stardom, with a blend of dance-pop, disco and Europop spawning singles such as On A Night Like This, Kids with Robbie Williams, and her big comeback single Spinning Around.

The Toy Tonics crew is known for being addicted to two things: vintage music machines and old vinyl. 100% music aficionados. On the Tonic Edit series the crew shares some of their favorite old tracks - in a reworked version. This time COEO get back in time. They destroyed a couple of 1970ies disco jams. Recut & repasted them. And gave them their special COEO touch. Of course it's irresistible! This release comes on vinyl only first. Later maybe could be out on selected Digital sellers.. not sure yet.

Am 7. August 2026 veröffentlichen THE BOYS eine limitierte Doppel-A-Seite-Vinyl-Single bei Damaged Goods Records. ,Damn Those Eyes" und ,Never Mind the Botox" wurden letztes Jahr im The Planet Of Noise Studio in Limmared, Schweden, aufgenommen. Beide Songs stammen aus dem sechsten offiziellen Studioalbum von The Boys, das im Dezember 2026 erscheinen wird. Zusammen mit den Sex Pistols, The Clash und The Damned gehörten The Boys zur ersten Welle der britischen Punk-Explosion Mitte der 1970er Jahre. Ausgestattet mit einem Arsenal an Killer-Songs von Steel und Dangerfield wurden The Boys im Januar 1977 zur ersten britischen Punkband, die einen Plattenvertrag unterschrieb. Von der Musikpresse und ihren Zeitgenossen hoch geschätzt, führten ihre gut ausgearbeiteten Songs zusammen mit Steels und Dangerfields Liebe zu Harmonien dazu, dass sie als ,die Beatles des Punk" bezeichnet wurden, aber sie hätten genauso verdient mit den Ramones verglichen werden können (und sollen) - schnell, abwechselnd frech und augenzwinkernd, und herrlich hymnisch. Auf der neuen Single sind die ursprünglichen Gründungsmitglieder und das Songwriter-Team Matt Dangerfield und Casino Steel zu hören, zusammen mit den langjährigen Mitgliedern Chips Kiesbye & Kent Norberg (von der schwedischen Megaband Sator) sowie Martin H-Son (ex-Backstreet Girls). Der renommierte internationale Filmemacher und ehemalige Bassist von The Crybabys, Danny Garcia, hat einen Gastauftritt auf ,Never Mind the Botox" und hat außerdem Promo-Videos für beide Songs gedreht.

Black Vinyl Repress

This is Partisan Records' black vinyl repress of Cymande's 1974 classic Second Time Round. This album features the stunning singles “Crayshaw,”“Fug” & “Genvieve”. Their self-titled debut was the first UK soul album to land on the Billboard Top 200 charts, and Second Time Round placed them back on the US charts. And in another first while touring on this album they became the first British band to ever headline the legendary Apollo Theater in Harlem.

Starting with the sleeve, reminiscent of comic book style album covers from the 70’s and 80’s like The Upsetters “Return of the Super Ape” and Scientist’s “Scientist Encounters Pac Man”, you know this album is straddling the decades of ska, rocksteady, dub and reggae. King Zepha recorded vocals, sax, woodwinds, keyboards, guitar and percussion at his home studio, with his fellow touring band members adding “the stuff I can’t do particularly well” backing vocals, brass, double bass and drums

The Dresden Dolls announce the re-recorded release of Yes, Virginia... (Tailor"s Version). Guest vocalists include Jinkx Monsoon and Veronica Swift. The pioneering punk cabaret duo of Amanda Palmer and Brian Viglione enter a new chapter with a full re-recording of their 2006 album Yes, Virginia..., tracked in Boston. The title nods to Taylor Swift"s reclamation of master recordings. After a 20-year contract with Roadrunner Records, the band regained the right to re-record their catalog. The announcement comes nearly 20 years after the original release. The track list remains unchanged (with a bonus track on vinyl and CD), while performances reflect two decades of artistic and personal evolution. Known for Viglione"s orchestral drumming and Palmer"s percussive piano and songwriting-exploring sexuality, identity, addiction, capitalism, and social isolation-this version brings new depth. Songs including "My Alcoholic Friends," "Sex Changes," and "Backstabber" return with renewed intensity. Recorded in late 2025 at Mad Oak Studios, the album was tracked mostly live with Benny Grotto and mixed by Paul Kolderie. It also features artwork by Niki McQueen.